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Mozart: Don Giovanni
Average customer rating: 5 out of 5 stars
  • A great Don (except for the sound)
  • IT'S A GREAT ONE!
 Mozart: Don Giovanni

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Similar Items:
  1. Mozart: Don Giovanni
  2. Mozart: Symphonies Nos 29, 35 (Haffner), 38 (Prague), 39, 40, and 41 (Jupiter)
  3. Mozart: Symphony #40/Piano Concerto #20/Serenades #10 'Gran Partita' & #13 'Eine Kleine Nachtmusik - Wilhelm Furtwangler, Berlin Philharmonic
  4. Mozart: Le Nozze di Figaro
  5. Verdi: La Traviata (Complete opera); Maria Callas; Alfredo Kraus

ASIN: B000BNV8E8
Release Date: 2006-01-10

Tracks:

  1. Sinfonia/Overture - Chor Der Wiener Staatsoper
  2. Notte E Giorno Faticar - Otto Edelmann
  3. Non Sperar, Se Non M'uccidi - Otto Edelmann
  4. Lasciala, Indegno!...Leporello, Ove Sei? - Various Artists
  5. Ma Qual Mai S'offre, Oh Dei - Anton Dermota
  6. Fuggi, Crudele, Fuggi! - Anton Dermota
  7. Orsu, Spicciati Presto - Otto Edelmann
  8. Ah, Chi Mi Dice Mai - Otto Edelmann
  9. Chi E La? - Otto Edelmann
  10. Madaminia, Il Catalogo E Questo - Otto Edelmann
  11. Giovinette, Che Fate All'amore - Walter Berry
  12. Manco Male E Partita - Various Artists
  13. Ho Capito, Signor, Si! - Walter Berry
  14. Alfin Siam Liberati - Cesare Siepi
  15. La Ci Darem la Mano - Cesare Siepi
  16. Fermati, Scellerato!...Ah! Fuggi Il Traditor! - Elisabeth Schwarzkopf
  17. Mi Par Ch'oggi Il Demonio Si Diverta...Non ti Fidar, O Misera...Povera Sventurata! - Various Artists
  18. Don Ottavio, Son Morta! - Anton Dermota
  19. Or Sai Chi L'onore - Elisabeth Grummer
  20. Come Mai Creder Deggio...Dalla Sua Pace - Anton Dermota
  21. Io Deggio Ad Ogni Patto - Otto Edelmann
  22. Finch'han Dal Vino - Cesare Siepi

Tracks:

  1. Massetto, Senti Un Po'! - Walter Berry
  2. Batti, Batti, O Bell Masetto...Guarda Un Po' - Walter Berry
  3. Presto, Presto, Pria Ch'ei Venga - Various Artists
  4. Tra Quest'arbori Celata - Walter Berry
  5. Bisogna Aver Coraggio - Various Artists
  6. Protegga Il Giusto Cielo - Elisabeth Schwarzkopf
  7. Riposate, Vezzose Raggzze - Various Artists
  8. Venite Pur Avanti - Various Artists
  9. Ecco Il Birbo Che T'ha Offesa! - Various Artists
  10. Trema, Trema, O Scellerato! - Various Artists
  11. Eh Via, Buffone, Non Mi Seccar...Leporello!...Signore? - Otto Edelmann
  12. Ah Taci, Ingisusto Core! - Otto Edelmann
  13. Amico, Che Ti Par? - Otto Edelmann
  14. Deh, Vieni Alla Finestra...V'e Gente Alla Finestra - Walter Berry
  15. Meta Di Voi Qua Vadano - Cesare Siepi
  16. Zitto, Iascia Ch'io Senta! - Walter Berry
  17. Verdrai, Carino, Se Sei Buonino - Erna Berger
  18. Di Molte Faci Il Lume...Sola, Sola In Buio Loco - Various Artists
  19. Mille torbidi Pensieri - Various Artists
  20. Dunque Quello Sei Tu...Ah, Pieta, Signori Miei!...Ferma, Perfido, Ferma! - Various Artists
  21. Il Mio Tesoro Intanto - Anton Dermota
  22. In Quali Eccessi, O Numi - Elisabeth Schwarzkopf
  23. Mi Tradi Quell'alama Ingrata - Elisabeth Schwarzkopf

Tracks:

  1. Ah, Ah, Ah, Questa E Buona - Otto Edelmann
  2. O Statua Gentilissima - Otto Edelmann
  3. Calmatevi, Idol Mio! - Anton Dermota
  4. Crudele? Ah No, Mio Bene! - Elisabeth Grummer
  5. Non Mi Dir, Bell'idol Mio - Elisabeth Grummer
  6. Gia La Mensa E Preparata - Otto Edelmann
  7. L'ultima Prova Dell'amor Mio - Elisabeth Schwarzkopf
  8. Che Grido E Questo Mai - Otto Edelmann
  9. Don Giovanni A Cenar Teco - Otto Edelmann
  10. Da Qual Tremore Insolito - Otto Edelmann
  11. Ah, Dov'e Il Perfido? - Various Artists
  12. Or Che tutti, O Mio Tesoro - Various Artists
  13. Questo E Il Fin - Various Artists

Customer Reviews:

5 out of 5 stars A great Don (except for the sound).......2007-06-27

I have to agree with the previous reviewer that as an operatic production, this recording is superb. The only downside is the sound quality, which probably could not be helped; one must simply take it on faith that EMI did their best to re-master the original tapes (though I feel that they may have overdone the bass parts in some places). The singers are superb, and you can hear the stage effects, which gives the recording a charming immediacy. Anyone who has only heard only modern recordings of the opera, which emphasize "period" instruments and tempos, should be warned that Furtwängler did not feel obliged to stick to any one particular set of tempi - he varies the speed quite a bit, even within particular numbers, but this reflects an overall aesthetic conception of the opera which he formed over many years (this recording was made in 1954, the year of his death) and which fits together perfectly in its own way.
Moreover, like the previous reviewer, I am glad that EMI is releasing this set for a reasonable price, and it is a good companion to the classic Giulini set (although I would recommend other versions of the opera as well - even some of the "period" interpretations).

5 out of 5 stars IT'S A GREAT ONE!.......2006-01-29

"Don Giovanni" is a very great, but difficult opera. It requires a charasmatic bass-baritone (or bass) for the title role, another equally great bass-baritone with a comic flair (for Leporello), two great leading sopranos for two very difficult roles (Donnas Anna and Elvira), a flawless lyric tenor (Don Octavio), and a pair of appealing younger singers for Zerlina and Massetto. It also doesn't hurt to have a sonorous Commandatore (a real bass)who can terrify Don Giovanni and take him to down at the end of the opera. This is an opera better left alone than presented even decently. The 1950's was a great time for Mozart singers, and many of them are right here on this live recording from Vienna in 1954. Cesere Siepi made the role of Don Giovanni his own and performed it many times (as well as on a commercial London recording which still is available). Elisabeth Schwarzkopf owned the role of Donna Elvira, and, in fact, can be heard on the EMI commercial recording made five years after this performance took place. Elisabeth Grummer was primarily a singer of the lighter Wagnerian roles, but her Donna Anna has power and passion. All of the other artists - Otto Edelmann, Erna Berger, Anton Dermota, Walter Berry, etc, were well known for their Mozart performances all through the decade. They mesh beautifully together in this performance, all under the exciting leadership of the legendary Wilhelm Furtwangler, who really finds the dramatic elements in this piece --- at the price of perhaps less emphasis on the lighter moments. Still, this is a towering performance, in excellent monophonic sound (yes, there are some stage noises, but no distortion or peaking). EMI has made it available at an incredibly low and wonderful price, and I can't see how anyone who loves Mozart would want to be without it under any circumstances. This is a great companion to the EMI Giulini set, and quite probably the superior of all the others.
It's a winner!
Wolfgang Amadeus Mozart: Le nozze di Figaro / Don Giovanni / Così fan tutte / Die Zauberflöte - The Drottningholm Court Theatre Orchestra & Chorus / Arnold Östman
Average customer rating: 5 out of 5 stars
  • Refreshing and Surprising!
  • Some of the most thought-provoking recordings ever, combined with some of the most perfect performances I have ever heard.
  • Best ever!!
 Wolfgang Amadeus Mozart: Le nozze di Figaro / Don Giovanni / Così fan tutte / Die Zauberflöte - The Drottningholm Court Theatre Orchestra & Chorus / Arnold Östman
Barbara Bonney , Arleen Auger , and The Drottningholm Court Theatre Orchestra & Chorus
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Similar Items:
  1. Beethoven: Symphonies Nos. 1-9 (Fra)
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  4. Mozart Opera Glyndebourne Collection: Cosi fan Tutte, Don Giovanni, Le Nozze di Figaro, Die Entfuhhrung aus dem Serail, Idomeneo, Die Zauberflote (6 DVDs)
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ASIN: B00006IU7V
Release Date: 2003-03-11

Album Details

These Pioneering Performances of Four of Mozart's Greatest and Most Popular Operas under the Direction of Arnold Östman were Recorded at Nacka Aula, Stockholm. They all Attracted Great Critical Acclaim at the Time of their Original Release and have Been a Part of Decca's Vast Opera Catalogue Ever Since. The Da Ponte Trilogy (One of the Greatest Librettist/Composer Collaborations in the Entire History of Music), Comprising Le Nozze Di Figaro, Don Giovanni and Così Fan Tutte, is Paired with One of Mozart's Last Operas, Dating from the Last Year of his Life, Die Zauberflöte. The Superb Casts Assembled for These Recordings Include Such Experienced Mozart Interpreters as Arleen Auger (Countess, Donna Anna), Barbara Bonney (Susanna, Zerlina, Pamina), Håkan Hagegård (Count, Don Giovanni, Speaker), Sumi Jo (Queen of the Night), Della Jones (Marcellina, Donna Elvira), Petteri Salomaa (Figaro), Kurt Streit (Tamino), Lillian Watson (Papagena), Gösta Winbergh (Ferrando), Rachel Yakar (Fiordilig

Customer Reviews:

5 out of 5 stars Refreshing and Surprising!.......2006-11-24

I would strongly recommend this collection to anyone who is seeking a new approach and sound world for these Mozart operas. Ostman opts for brisk tempi and transparent textures, but hardly ever at the expense of characterization or expressivity. The singers respond to the challenge with performances that bristle with excitement and fun. The cast blends with the orchestra like a chamber music ensemble, inspiring the listener to experience the opera as a conversation between the text and the intimations expressed in Mozart's musically and psychologically penetrating orchestration. Occasionally one may miss the lyric line and warmth associated with such great Mozart conductors as Bruno Walter or Karl Bohm; but the brio, virtousity, and brilliant insights of Ostman compensate with different kinds of rewards. Also, there is an intimate atmosphere in these recordings that is most faithful to the ethos and meaning of the libretti themselves. After listening to this period approach, my understanding of Mozart has changed radically, and I continue to relish the challenge that these performances have given to my interpretative sensibilities.

5 out of 5 stars Some of the most thought-provoking recordings ever, combined with some of the most perfect performances I have ever heard........2005-09-14

First of all, I must state first that I was ANXIOUS to write this rave review. Ever since I got these cd's and realized the treause that is to be found in these recordings I just couldn't wait until I'd had the chance to tell everybody else about it... I honestly believe these recordings should be heard by anybody who is interested in this repertoire and music in general, since this are also some of the most perfect pieces of music in the repertoire.

As for the music itself, I am not going to write about. I think it is enough to read my last sentence to realize exactly what I think about it - and it is really just a must. That's composition taken to the highest possible level.

What I do want to write is about the performances.
Arnold Ostman, not the most known figure in the musical world, (not even amongst musicians- I come from Juilliard, and that name is definitely not one everybody knows) has created in the 80's in Mozart the equivalent of what Harnoncourt and Gardiner have done in Bach performance practice, i.e. has totally changed the conecption which was assimilated into everybody's mind regarding notions about how music of that era should sound like.

Trying to create a performance experience which emulates Mozart's period performance practice he changed everything starting from tempos, through ornamentation and of course- the voices themselves.

For us, most people indoctrinated by the post-romantisicm eastablished especially by Herbert von Karajan and the ilks of him, the first initial response will be a shock. The almost imperceptible swift tempos, the small voices etc. are sure to knock over anybody who haven't heard these recordings before. It might create an intial negative response but hang-on there, as the result is so much more gratifying then of hearing a recording of Karajan, Giulini, Furtwangler or any GREAT other conductor from that era- They were obviously incredible musical figures, but in terms of style and total perception of the piece it just doesn't work on the same level, in Mozart of course. (You'd still want to keep your Furtwangler's ninth copy...)

What is so great about Ostman is the freshness of mind with which he walks into every piece. Just like a real iconoclast
it seems as if he has landed from an entire different planet, and is just coming to conduct these pieces and give their debut. I can't give a more sincere and true compliment than that, musically speaking.

The results are the most fresh interpretations up to date of Mozart most important operas which also derive from some of the best vocal performances I have ever heard.
Under Ostman's direction it seems as though all the singers bloom and give their most musical and inspired performances,
holding on under the swiftest tempos in an admirable way. There is no point in pointing out names because it is as in a rule that the performances are just stellar one by one, even though not carrying around sometimes the most famous names.

This is not to say that all of the recordings in this set are equally perfect, and that I agree to all of the interprations and the insights given by Ostman, but you can't disregard the feeling that he knew EXACTLY what he wanted and executed it almost flawlessly. (the one exception might be small part of Cosi, mainly the overture, which was recorded very early in the stages of period instruments playing- therefore not always as perfect as you would have liked to hear it, but the performance as a whole is still the most beautiful Cosi I know.)

As for the packaging itself: The price is a complete steal, (incredible especially if you order it through other sellers, got mine for about 40$). What you DON'T get are the librettos, so you'd HAVE to get them from a different source. Either a different recording you might have, (you just might want one of the standard reference recordings one usually hears about like Giulini's) or you could just buy the librettos through Amazon, would still cost you very little.

Should not be missed by any terms by anybody who cares for music.

Ran

5 out of 5 stars Best ever!!.......2004-01-12

Ostman created a stir when he made these recordings in the 1980s. And now it available in a collectors' edition box. I'm so excited. Sumi Jo's Queen of the Night here is even better than her recording for Solti. Ostman's Don Giovanni is the fastest I've ever heard, not to mention the most exciting. This Cosi Fan Tutte is Gramophone's reference Cosi. And this Figaro has many "alternative" arias that other recordings never bother with. Don't worry, the alternative is at the back so you can program it out. In fact, this is the only set of Mozart operas with ALL the alternative arias available. Even Gardiner does not have some of these. So this is a supreme set of importance.

I cannot recommend this too highly. Exciting performances now available in Decca's collectors' edition.
Mozart - Don Giovanni / Raimondi, Te Kanawa, Berganza, Moser, van Dam, Opera de Paris, Maazel (1979 film)
Average customer rating: 4.5 out of 5 stars
  • Excellent
  • The Best Don Giovanni On Record
  • If only.....
  • Like Amadeus, Terrific! A Must have!
  • Not the best by a long shot
 Mozart - Don Giovanni / Raimondi, Te Kanawa, Berganza, Moser, van Dam, Opera de Paris, Maazel (1979 film)
Wolfgang Amadeus Mozart , Lorin Maazel , Ruggero Raimondi , Kiri Te Kanawa , Chorus & Orchestra of the Paris Opera , Edda Moser , José van Dam , Teresa Berganza , John Macurdy , Kenneth Riegel , and Malcolm King
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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  3. Verdi - Rigoletto / Sutherland, Pavarotti, Milnes, LSO, Bonynge

ASIN: B0000025CF
Release Date: 1990-10-25

Tracks:

  1. Don Giovanni: Ouverture
  2. Don Giovanni: Act I - Scene I -Introduzione: (Leporello) (Donna Anna) (Don Giovanni) (Commendatore)
  3. Don Giovanni: Act I - Scene 2 - Recitaivo: Leporelli, ove sei? (Don Giovanni) (Leporelli)
  4. Don Giovanni: Act I - Scene 3 - Recitativo: Ah! del padre in periglio (Donna Anna) (Don Ottavio)
  5. Don Giovanni: Act I - Scene 3 - Duetto: Fuggi, crudele, fuggi! (Donna Anna) ((Don Ottavio)
  6. Don Giovanni: Act I - Scene 4 - Recitativo: Orsu, spiccati presto (Don Giovanni) (Leporello)
  7. Don Giovanni: Act I - Scene 5 - Terzetto: Ah! chi mi dice mai (Donna Elvira) (Don Giovanni) (Leporello)
  8. Don Giovanni: Act I - Scene 5 - Recitativo: Chi e la? (Donna Elvira) (Don Giovanni) (Leporello)
  9. Don Giovanni: Act I - Scene 5 - Aria: Madamina, il catalogo e questo (Leporello)
  10. Don Giovanni: Act I - Scene 7 - Duetto & Coro: Gioveinette, che fate all'amore (Zerlina) (Masetto)
  11. Don Giovanni: Act I - Scene 8 - Recitativo: Maco male, e partita (Don Giovanni) (Leporelli) (Zerlina) (Masetto)
  12. Don Giovanni: Act I - Scene 8 - Aria: Ho capito, signor si! (Masetto)
  13. Don Giovanni: Act I - Scene 9 - Recitativo: Alfin siam liberati (Don Giovanni) (Zerlina)
  14. Don Giovanni: Act I - Scene 9 - Duettino: La ci darem la mano (Don Giovanni) (Zerlina)
  15. Don Giovanni: Act I - Scene 10 - Recitativo: Fermati, scellerato! (Donna Elvira) (Zerlina) (Don Giovanni)
  16. Don Giovanni: Act I - Scene 10 - Aria: Ah! fuggi il traditor (Donna Elvira)
  17. Don Giovanni: Act I - Scene 11 - Recitativo: Mi par ch'oggi il demonio (Don Giovanni) (Don Ottavio) (Donna Anna)
  18. Don Giovanni: Act I - Scene 12 - Recitativo: Ah, ti ritrovo ancor (Donna Elvira) Quartetto: Non ti fidar, o misera (Donna Elvira) (Donna Anna) (Don Ottavio) (Don Giovanni)
  19. Don Giovanni: Act I - Scene 12 Recitativo: Povera sventurata! (Don Giovanni)
  20. Don Giovanni: Act I - Scene 13 - Recitativo: Don Ottavio... son morta! (Donna Anna) (Don Ottavio)
  21. Don Giovanni: Act I - Scene 13 - Aria: Or sai chi l'onore (Donna Anna)
  22. Don Giovanni: Act I - Scene 14 - Recitativo: Come mai creder deggio (Don Ottavio)
  23. Don Giovanni: Act I - Scene 14 - Aria: Dalla sua pace (Don Ottavio)

Tracks:

  1. Don Giovanni: Act I - Scene 15 - Recitativo: Io deggio, ad ogni patto (Leporello) (Don Giovanni)
  2. Don Giovanni: Act I - Scene 15 -Aria: Finch;han dal vino (Don Giovanni)
  3. Don Giovanni: Act I - Scene 16 - Recitativo: Masetto...senti un po (Zerlina) (Masetto)
  4. Don Giovanni: Act I - Scene 16 - Aria: Batti, batti, o bel Masetto (Zerlina)
  5. Don Giovanni: Act I - Scene 16 - Recitativo: Guarda un po' come seppe (Masetto) (Don Giovanni) (Zerlina)
  6. Don Giovanni: Act I - Scene 16 - Finale: Presto, presto, pira che venga (Masetto) (Zerlina)
  7. Don Giovanni: Act I - Scene 17: Su svegliatevi, da bravi! (Don Giovanni)
  8. Don Giovanni: Act I - Scene 18 - Tra quest'arbori celata (Zerlina) (Don Giovanni) (Masetto)
  9. Don Giovanni: Act I - Scene 19 - Bisogna aver coraggio (Donna Elvira) (Don Ottavio) (Donna Anna) (Leporello)
  10. Don Giovanni: Act I - Scene 19 - Protegga il giusto cielo (Donna Anna) (Don Ottavio) (Donna Elvira)
  11. Don Giovanni: Act I - Scene 20 - Riposate, vezzose ragazze (Don Giovanni) (Leporello) (Masetto) (Zerlina)
  12. Don Giovanni: Act I - Scene 20 - Venite pur avanti (Leporello) (Don Giovanni) (Donna Anna) (Donna Elvira)
  13. Don Giovanni: Act I - Scene 20 - Ecco il birbo che t'ha offesa (Don Giovanni) (Leporello) (Don Ottavio) (Donna Anna) (Donna Elvira) (Zerlina) (Masetto)
  14. Don Giovanni: Act I - Scene 20 - Trema, trema scellerato (Tutti)
  15. Don Giovanni: Act 2 - Scene 1 - Duetto: Eh via, buffone, non mi seccar! (Don Giovanni) (Leporello)
  16. Don Giovanni: Act 2 - Scene 1 - Recitativo: Leporello...Signore (Don Giovanni) (Leporello)
  17. Don Giovanni: Act 2 - Scene 2 -Terzetto: Ah! taci, ingiusto core (Donna Elvira) (Leporello) (Don Giovanni)
  18. Don Giovanni: Act 2 - Scene 2 -Recitativo: Amico, che tim par? (Don Giovanni) (Leporello)
  19. Don Giovanni: Act 2 - Scene 3 - Recitativo: Eccomi a voi (Donna Elvira) (Don Giovanni) (Leporello)
  20. Don Giovanni: Act 2 - Scene 3 - Aria: Deh! vieni alla finestra (Don Giovanni)
  21. Don Giovanni: Act 2 - Scene 4 - Recitativo: V'e gente alla finestra (Don Giovanni) (Masetto)
  22. Don Giovanni: Act 2 - Scene 4 - Aria: Meta di voi qua vadano (Don Giovanni)
  23. Don Giovanni: Act 2 - Scene 5 - Recitativo: Zitto...lascia ch'io senta (Don Giovanni) (Masetto)
  24. Don Giovanni: Act 2 - Scene 6 - Recitativo: Ahi! ahi! la testa mia! (Masetto) (Zerlina)
  25. Don Giovanni: Act 2 - Scene 6 - Aria: Vedrai, carino (Zerlina)
  26. Don Giovanni: Act 2 - Scene 7 - Recitativo: Di molte faci il lume (Leporello) (Donna Elvira)
  27. Don Giovanni: Act 2 - Scene 7 - Sestetto: Sola, sola in buio loco (Donna Elvira) (Leporello) (Don Ottavio) (Donna Anna)
  28. Don Giovanni: Act 2 - Scene 8 - Sestetto: Ferma, briccone! Dove ten vai? (Zerlina) (Masetto) (Donna Anna) (Don Ottavio) (Donna Elvira) (Leporello)
  29. Don Giovanni: Act 2 - Scene 8 - Sestetto: Mille torbidi pensieri (Leporello) (Zerlina) (Donna Anna) (Don Ottavio) (Donna Elvira)
  30. Don Giovanni: Act 2 - Scene 9 - Recitativo: Dunque quello sei tu (Zerlina) (Donna Elvira) (Don Ottavio) (Masetto)
  31. Don Giovanni: Act 2 - Scene 9 - Aria: Ah! pieta, signori miei! (Leporello)
  32. Don Giovanni: Act 2 - Scene 9 - Recitativo: Ferma, perfido; ferma (Donna Elvira) (Masetto) (Zerlina) (Don Ottavio)
  33. Don Giovanni: Act 2 - Scene 9 - Aria: Il mio tesoro (Don Ottavio)

Tracks:

  1. Don Giovanni: Act 2 - Scene 10 - Recitativo: In quali eccessi (Donna Elvira)
  2. Don Giovanni: Act 2 - Scene 10 - Aria: Mi tradi quell'alma ingrata (Donna Elvira)
  3. Don Giovanni: Act 2 - Scene 11 - Recitativo: Ah! ah! ah! questa e buona! (Don Giovanni) (Leporello) (Commendatore)
  4. Don Giovanni: Act 2 - Scene 11 - O statua gentilissima (Leporello) (Don Giovanni)
  5. Don Giovanni: Act 2 - Scene 12 - Recitativo: Calmatevi, idol mio (Don Ottavio) (Donna Anna)
  6. Don Giovanni: Act 2 - Scene 12 - Recitativo: Crudele? Ah no! mio ben! (Donna Anna) Aria: Non mi dir (Donna Anna)
  7. Don Giovanni: Act 2 - Scene 12 - Aria: Forse un giorno (Donna Anna)
  8. Don Giovanni: Act 2 - Scene 12 - Recitativo: Ah, si segua il suo passo (Don Ottavio)
  9. Don Giovanni: Act 2 - Scene 13 - Finale: Gia la mensa e preparata (Don Giovanni) (Leporello)
  10. Don Giovanni: Act 2 - Scene 14 - Finale: L'ultima prova (Donna Elvira) (Don Giovanni) (Leporello) Che grido e questo mai? (Don Giovanni) (Leporello)
  11. Don Giovanni: Act 2 - Scene 15 - Finale: Don Giovanni, a cenar teco (Commendatore) (Don Giovanni) (Leporello)
  12. Don Giovanni: Act 2 - Scene 15 - Finale: Da qual tremore insolito (Don Giovanni) (Leporello)
  13. Don Giovanni: Act 2 - Final Scene - Ah! dov'e il perfido? (Tutti)
  14. Don Giovanni: Act 2 - Final Scene - Or che tutti, o mio tesoro (Don Ottavio) (Donna Anna)
  15. Don Giovanni: Act 2 - Final Scene - Questo e il fin (Tutti)

Customer Reviews:

5 out of 5 stars Excellent.......2005-05-08

I just bought this set and I am very impressed. To start off I am a very big fan of the soprano and baritone voice. In addition to this I am of the belief that Kiri Te Kanawa and Ruggiero Raimondi can do no wrong when it comes to singing, so naturally it was not very hard for me to decide which Don Giovanni to add to my collection.

This set does not dissapoint. Both the Don and Elvira are in exceptional voice. In addition to this rest of the cast is terrific. Donna Anna, sung by Edda Moser, is truly remarkable especially in her first aria. I have read other reviews about her singing of this role and it seems that the reviewers are split in half. One half seems to think her Wagnerian sounding voice is far too heavy and aggressive for this role while the other half seems to find her perfect. Although, I must admit there are others that I have listened to and enjoyed just as much as Moser, it is nice to be able to hear "Or sai che l'onore" sung as though the soprano has just deiscoverd some horrifying fact and is ready to take action against it rather than faint. True, singing anything softer than forte is an alien concept to this woman, I feel that most people will be duly impressed.

Besides, if you do not enjoy Edda Moser's voice then any buyer can be certain to have loads of fun with Teresa Berganza, who sings the role of Zerlina. To put it plainly Berganza's singing and interpretation of this role may exceed even that of Bartoli's, who is yet another singer I firmly believe does no wrong when it comes to music.

The rest of the cast is also excellent. Don Ottavio, Leporello, and Masetto are all sung and portrayed as well as any. Overall this is a fine set and is well worth the purchase

5 out of 5 stars The Best Don Giovanni On Record.......2004-09-15

Everyone has their pick of their favorite Don Giovanni, and recordings which they consider to be the ultimate. For me, this 1979 studio recording, which was also the soundtrack for the Joseph Losey film, is the greatest on record. It has the right voices for the dark and witty drama that is Don Giovanni, the right orchestration and there is a certain magic to the whole thing that is going to leave you an opera fan for life. Ruggero Raimond sings the role of the Don. He is convincing both as a singer and an actor, bringing life to the dark, predatory, perverted, scheming character. Don Giovanni is a wolf disguised as a gentleman. He is charming, elegant but beneath his mantle of aristocratic nobility, he is the Devil incarnate. His music, mostly through recitatives (he gets only a toast aria "Finc al vino" and a Serenade "Vieni A La Finestra"of elegance) is full of wit, sophisticated humor and bawdy ribald perversion. He is a man whore, who delights in making love to all women of any age, shape or size (but never twice). He is anti-marriage even anti-romantic love. He was married briefly to Dona Elvira who is still demanding her rights as a wife and follows him everywhere, obscessed with him, attempting to regain his love, warning other women of his deception and betrayal. The role of Dona Elvira is sung by Kiri Te Kenawa who is in excellent late 70's voice, her dramatic inflections are perfect for the role. Actually, she makes a convincing and less cartoonish Elvira. Dona Elvira is usually played quite histerically and even comically but Kiri Te Kenawa plays her with a dignity of her own. If she is dramatic it is because she is madly in love with Don Giovanni and conflicted. She has a love/hate relationship with him.

Donna Ana is performed by Edda Moser. A German soprano of lyric dramatic coloratura, she has the perfect category of voice for Dona Ana the way she ought to be sung. Nowadays it's popular for a light lyric soprano to sing the role, as Renee Fleming has done. But I am pretty sure Mozart intended for her to be a dramatic soprano with a heavier voice that is nevertheless lyric, beautiful, full of pianissimo and high top register. There is one coloratura aria "A Forse Un Giorno Il Cielo" and dramatic lines in her recitatives. Right from the start, she is screaming in horror as she discovers her father has been killed by Don Giovanni. There are also moments in which the dramatic music compliment the dramatic outbursts such as the moment when she recognizes Don Giovanni as the man who tried to rape her. "O Dei ! O Gods!" she cries. There is an intense quality to the aria "Or Sai Che L'Onore" in which she is resolved that Don Ottavio take revenge against the Don. Edda Moser has a Wagnerian voice that is quite good for Dona Ana, especially because in this "version" she has some feelings of temptation for the Don which she is vigorously fighting to kill.

Lorin Maazel is a good conductor, even if he makes an excess of strings and conducts some moments such as the Act I finale at a faster pace. Jose Van Dam is a perfect support for Raimondi as Leporello, the faithful, clever and comic servant. His basso buffo voice is perfect for the role. Zerlina is sung by the adorable Teresa Berganza who has a sweet, lyric voice and who plays the almost seduced peasant girl with great conviction. In the end, she loves Masetto and will not betray him. Malcom King's Masetto is quite good, adorably jealous. Jon Macurdy has a terrifying voice as the Commandatore. This is the perfect Don Giovanni. What are you waiting for ? See the movie and get this soundtrack.

4 out of 5 stars If only............2004-05-07

This recording is exciting no doubt but it has a serious flaw- the sound. All of Mozart's orchestral brillance reduced to mush with the exaggerrated acoustics. An engineering disaster not helped by Maazels excessive use of string. Having said that wow- the singing catches fire. This version is comes close to comparing with the legendary Guilini recording with Schwartkoft and Sutherland. Kiri te Kanawa is phenomenal!!!. Very rarely does she sound so convincing dramatically but she is heavenly in this recording. Ah che di mai, Inquali eccesi, Masker's trio, Ah Fuggi.. are all sung excellently with a full throated creamy tone as golden as the morning sun and as smooth as silk. Not a note out of place or scooped. Schwartkopf occassional shows her troubles with Mozart- esp in Inquali eccesi but otherwise she is commanding. Her's is the more compelling potrait but te Kanawa outshines her in all other aspects of the role- youthful brilliance coupled with a voice that is truly unforgettable.

In the 1970's te Kanawa as a lyric soprano had no equal esp in Mozart. Freni, Riciarelli, Tomowa Sintow, Cotrubas, Popp comes nowhere near and four of her Mozart recordings then deserves to be ranked as some of the most sensational recordings ever committed to disc ( along with her Grammy award Four Lasts Songs ). Of her many Mozartian potraits; Fiordiligi and Pamina with Lombard and her Figaro with Boehm, this Elvira has to be the most breathtaking and quintessential of all. Her incredible voice, the manner of her delivery and the warmth of her superlative singing is magical.

Edda Moser is a wondefully dramatic Anna, not always focused and she sounds positively insecure in her entrance. Sutherland is incomparable. I find her 'Or sai' tellingly dramatic. Berganza is lovely and she manages the high tessitura well.

The men lack something of the spark in comparison. Van Dam is a most aristocratic Leporello. Terfel is more believable. Raimondi is commanding- his is the most sexually appealling of all recordings. Maazel has wonderful moments but tends to rush much of Mozart's orchestral colour.

5 out of 5 stars Like Amadeus, Terrific! A Must have!.......2001-08-03

If you have seen the 1984 Milos Forman Best Picture Amadeus, you would have seen the Commandatore Scene from Don Giovanni. This soundtrack is to the 1979 film version of the opera, with the great conductor Lorin Maazel at the baton, Kiri Te Kenawa, Edda Moser, Berganza and Van Dam putting in their talents. This is a great performance, and if you loved the film, this is a must have. Dark, comic, it is Mozart's finest Italian opera. Popular for its beautiful melodies, such as "La Ci Darem La Mano" "Viva La Libertad " the Don's lusty champagne aria "Finch hal Del Vino" and of course the climatic encounter with the Commandatore, Don Giovanni remains one of the world's greatest operas. Before you listen to all the other recordings, try this one out. I think you will be pleasantly surprised. Of course, Maazel fans might appreciate it better, as well as fans of Te Kenawa and Moser.

2 out of 5 stars Not the best by a long shot.......2001-05-09

Frankly, this is very overated recording, as is the so-called legendary Gulini. Best in my view are a) Josef Krips (Decca) and Mitropoulos (Sony Classics). The latter is live, which this opera can take and in fact it adds to the frisson and excitement particularly in the final act. And the singers. Nobody has yet bettered Grummer, or Della Casa as Donna Anna or Donna Elivira. Hear them and you won't be able to listen to others doing this opera. The sound for a 1956 recording is excellent as is the Krips one which was recorded around 1959. In both recordings Siepi is the Don and his voice is a marvellous mixture of suave, erotic and downright sinister. In short he encompases the whole role. Do yourself a favour and get BOTH these recordings.
Nessun Dorma; Roberto Alagna
Average customer rating: 4 out of 5 stars
  • Five stars for Yu Qiang Dai
  • Alagna the Over-rated -- He's fine for the deaf!
  • Alagna brings verismo favorites and rarities to 'real life'
  • 5 for Variety 3 for Voice
  • What a cool recital!
 Nessun Dorma; Roberto Alagna
Ermanno Wolf-Ferrari , Mark Elder , Roberto Alagna , London Voices , Ruggiero Leoncavallo , and Orchestra of the Royal Opera House - Covent Garden
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000DD76K
Release Date: 2003-10-21

Tracks:

  1. Nessun Dorma!
  2. Colpito Qui M'avete...Un Di All'azzurro Spazio (Improvviso)
  3. Come Un Bel Di Di Maggio
  4. Quando A Solden
  5. Giulietta, Son Io
  6. Non Parlate Cosi...Io Non Ho Che Una Povera Stanzetta
  7. Musetta! O Gioia Della Mia Dimora!...Testa Adorata
  8. Cielo E Mar!
  9. Comare Lola...Viva Il Vino Spumeggiante
  10. Mamma! Quel Vino E Generoso
  11. La Dolcissima Effigie Sorridente
  12. L'Anima Ho Stanca, E La Meta E Lontana
  13. Dammi Un Amore Selvaggio E Ribelle
  14. Che Piu Mi Resta! Tu Sola A Me Rimani
  15. E Un Riso Gentil Qual'alba D'April
  16. Mai Piu, Zaza, Raggiar Vedro
  17. Tornato E Maggio Dopo Lungo Viaggio
  18. Amor Ti Vieta
  19. Un Orso In Musoliera Innamorato
  20. Nessun Dorma!...O Sole! Vita! Eternita!

Amazon.com

Here Roberto Alagna takes on verismo arias, works which require a type of exclamatory delivery very unlike arias from the bel canto period or the French repertoire. The danger for any tenor in this music is overstatement and oversinging - passions run high in this music, and the orchestral accompaniment is big and aggressive. Alagna is, for the most part, remarkably successful, bringing interesting nuances to even the most familiar of the arias ("Nessun dorma," "Cielo e mar") and making a fine case for a beautiful, sad aria from Zandonai's Giulietta e Romeo and painting a vivid portrait of the drunken title character from Wolf-Ferrari's Sly. He occasionally sings sharp: a phrase or two at the close of Turiddu's "Addio" from Cavalleria and every so often in the otherwise mellow "Amor ti vieta." But this recital never bores or tires the listener, and there's a good chance that Alagna is finally living up to his reputation as "the fourth tenor." This is terrific, and worth repeated hearings. --Robert Levine

Customer Reviews:

5 out of 5 stars Five stars for Yu Qiang Dai.......2005-01-28

It was a big shock to hear Yu Qiang Dai's debut cd. He is, I think, the best lirico-spinto tenor nowadays. He has a lovely voice, which is very well produced. The center is wonderful, the lower notes are good, the high notes are shining and of fantastic quality... the singing through the passage is very well handled. He is an itelligent musical interpreter and singer, with an interesting and appealing line and sense of style. Very good dynamic changes. He offers some of the absolutely best renditions of some arias (nessun dorma and cielo e mar, for example) that I have heard in many years.
He still has to work his Italian (specially the consonants) and his French. But there were great historical tenors with bigger idiomatical problems.

Despite taking spinto repertoire, Yu never pushes, never tries to make the voice sound darker than it is, everything is always under control, and he takes the chance to give very stylish renditions (for example, of una furtiva lagrima), which is strange for tenors who "want to sing spinto".

The tenor is a fantastic discovery, one of the best ones around. Actually, all my criticism goes to EMI and the production of the CD: no choirs, no solists (for example, for the aria of Cavalleria, where the mother should sing her line), and the acoustic "atmosphere" has made some people to doubt if Yu's voice is really as big as it seems (people who saw his Cavaradossi at Covent Garden say that it is very big, actually).
Not a the best production job by the people of EMI, but five stars (ten if possible) for the singer. Simply wonderful.

1 out of 5 stars Alagna the Over-rated -- He's fine for the deaf!.......2004-12-18

For Heaven's sake, it is ludicrous to compare Alagna -- who has talent but is NOT one of the "greats" -- to the likes of Jussi Bjorling or Domingo. The only reason other reviewers are impressed by this recording is because they haven't heard these arias sung by other, better tenors. First of all, Alagna is a lyric tenor, not a dramatic tenor, and his voice simply isn't big enough to handle the material without displaying a highly unattractrive raspiness, almost a bleating sound, on virtually every aria on the disc. How come no one noticed it (or did his fans simply choose to ignore it)? Alagna can be expressive in his singing, and I have no quibbles with the orchestra or conductor, but this vocal rasp or near-choke hardly makes this CD a listening pleasure for the discerning opera fan. Mario Del Monaco, who had the right dramatic voice for this material, recorded an album of "Verismo" arias which is available on CD and shows how these works should be sung -- with great dramatic power and vitality, not to mention ringing high notes. Alagna hits the high notes, but they are hardly "ringing." This CD demonstrates all too aptly why Alagna has never really caught on with serious and discriminating, knowledgeable opera fans who are familiar with many different tenors of the classic period. Alagna is one of the most over-hyped singers of his generation.

5 out of 5 stars Alagna brings verismo favorites and rarities to 'real life'.......2004-03-21

The composers of the verismo school made it their mission to take opera away from the gods, royalty and nobles which it had exclusively depicted in the previous centuries and to finally have it concern people who lived 'real lives.' Unfortunately, too many opera fans and performers - especially tenors - make the mistake of assuming that the intense passions and 'crude realism' depicted by these composers is a license for excessive sobbing, gulping, screaming, macho posturing and other inartistic distortions of the music and drama. Roberto Alagna doesn't. What is so wonderful about his new disc of verismo arias is that none of what he sings is here merely a 'tenor showpiece'. His emotion is absolutely genuine, never 'look at me emote!'. He is always totally in tune with the dramatic situations, and serves them with a wide palette of tonal colors and vivid word-painting made even more intense by the clarity of his Italian diction, as superb as his native French. Although he has plenty of power and drama when required, more often he sings sweetly, smoothly, gently, and lyrically, even in the heaviest repertory. Best of all, Alagna's recent tendency to overuse the darker, rougher sides of his voice in recordings of Italian works has disappeared. This CD is his best work in that language and his singing here bodes extremely well for his future live excursions into these roles.

The title track 'Nessun Dorma' sets the stage for much of what follows. I can think of no higher praise than to say that it recalls that of Jussi Bjorling. Although Alagna doesn't have Bjorling's blazing voice and unsurpassable tonal beauty, he provides just as much sensitivity, nuance, and soft singing - this is a young man in love with a beautiful princess, not a soccer fan. His Andrea Chenier truly is a poet - youthful, passionate and desperate, and is Loris is equally impressive. Turridu in 'Cavalleria Rusticana' is surely an ideal vehicle for this tenor of Sicilian parentage, with his high spirits and smile in the voice for the drinking song turning serious and repentant for 'Addio alla madre'. For Enzo in 'La Gioconda', Alagna's 'Cielo e mar' is thoughtful and introspective, with a gorgeous diminuendo on 'O sogni d'or'. And what a joy to have Maurizio in 'Adriana Lecouvreur' sung by such a beautiful lyric voice, especially with more lovely pianissimo singing in 'L'anima ho stanca'! Can we hope for at least a live performance of the complete opera with his wife Angela Gheorghiu, who would be ideal in the title role?

Of course, any CD project Alagna undertakes will include a high percentage of rarities, and the very best of these are 'variations on a theme' to operas that Alagna is already famous for singing. Many consider his greatest role to be Romeo in Gounod's 'Romeo et Juliette', so it is no surprise that he is just as moving a Romeo in the tender and passionate tomb scene from Zandonai's 'Giulietta e Romeo'. In going from Puccini's version of 'La Boheme' to Leoncavallo's, Alagna switches from Rodolfo to Marcello, who is the tenor lead in this version. Having heard this opera in its entirety, I had originally thought that it was interesting but clearly inferior to the Puccini. Now I'm beginning to think all it needs is the right cast! More Leoncavallo rarities show Alagna at his most lighthearted and ebullient, even while playing some rather unsympathetic characters, from the feckless, selfish prince in 'I Zingari' to the married man having an affair with the title character in 'Zaza'. But in the wonderful 'Tu sola a mei rimani, poesia' from 'Chatterton', written by Leoncavallo when he was 17, Alagna is once again a heroic figure unlucky in love.

The 'Song of the Bear' from Wolf- Ferrari's 'Sly' is another triumph. Alagna darkens his tone to a rich bronze to become both the drunken poet of the title and his alter ego, the pathetic, lovestruck performing bear. He even improvises a delightful growl after 'voglio l'orsa!' ('I want the she-bear!'). Giordano's 'La Cene della Beffe' with its tale of a tenor jester's terrible revenge, would be a superb stage vehicle for Alagna's considerable dramatic talents, although here we only hear the character sweetly serenading about love in springtime. It is also nice to hear 'Quando a Solden', Hagenbach's anguished apology to the title character from Catalani's 'La Wally', an opera known mainly for the soprano aria 'Ebben? Ne andro lontano'.

The only problem I have with this disc, and I considered but decided against deducting the final star because of this, is that at least in the familiar selections I find conductor Mark Elder's tempos a little too slow. Although this allows Alagna to be at his most expressive, it takes away from the drama and urgency that is so necessary in this music. The Covent Garden orchestra does their usual splendid job, as does London Voices in their choral contribution, and Marianne Coterill and Tasmin Dalley are fine as Lola and Mamma Lucia. In addition to a wonderful background essay by John Steane, the documentation includes full texts and translations and - FINALLY - a biography of Alagna, as well as one of Elder.

I hope Alagna will get the opportunity to perform much of this material on stage, especially the rarities, although it might be best to limit his appearances in these roles to small theaters. Although Alagna has recently left EMI to go freelance, I am sure we will hear and see more of him in this and other interesting repertory - especially as he wants all his roles on DVD. Until then, "Nessun Dorma" is an ideal showcase for the marvelous voice and adventurous spirit of one of the greatest tenors of our day.

4 out of 5 stars 5 for Variety 3 for Voice.......2004-03-19

First off I think that it is really awesome that Roberto Alagna is recording rare works. On the flip side of that coin I dont really see how his voice can last through much more.
It is very clear that Alana should not really touch Verismo. I don't say this to be cynical or dismissive, he just goes very sharp and shows alot of force. The voice is very comfortable in French lyric Rep. When building a carrer, I think, a singer must find what his voice natually tends to and build around that. Certainly you can test and push boundaries, but If you make it your whole life pushing boundaries, than the voice breaks down. A similar fate befell Carreras, Di Stefano and many other singers. When I say that he should not touch verismo, I don not say that he brings nothing to the table, but that his voice does not have squillo and he goes very sharp when he hits high notes under stress, a sign of forcing. There is no squillo in his tone or dramatic declamation, and he has picked up the odd habit of scooping to seeminly every higher note.

The real positive is the interpretative ability, it is clear that Alagna is really thinking about each note, expecially in his excellent stuff from Cavalleria. I really enjoyed the Aria from sly, and listen to it more than most of the other tracks combined. Overall this is a good buy for some arias that you probably havent heard before.
I am not suggesting that roberto Alagna will ruin his voice. I am suggested that he is slowly beating the bloom out of his high notes, and taking the flexibilty and bright color by doing many artificial things in heavier rep.
So although I enjoyed this disc, and would recommend its purchace, I don't think it is the idiomatic verismo voice that one might expect in a verismo recital disc.

5 out of 5 stars What a cool recital!.......2004-02-18

After a downright magnificent account of Berlioz, Roberto Alagna ventures into an equally demanding world of verismo. With Ruggero Leoncavallo most prominently featured, a wealth of material abounds.
Some of the grounds covered here were recently treaded by Argentinean tenor José Cura. I would venture to say that while Cura's recital was unusual and interesting, the CD at hand provided a lot more exciting moments in its 65-min time span save for the double-take of "Nessun Dorma." (the "updated" version would be welcome on another disc, I don't believe we need to have them both here for contrast).
Alagna's matured tenor is remarkably agile and the top notes are very secure. Even the rare sharps don't sound out of place. While there is an occasional unsteadiness in upper range, he makes up for it by a strong attack and seemingly endless breath span. He is also able to infuse a little sob when called for - some argue that this sob and not a hair more is what verismo demands. Such treatment of little known aria from Zaza "mai piu, Zaza, raggiar vedro" brought to mind young Carreras on his extremely rare Philips album. It's really a heart-gripping piece and it's a shame that a full recording of the opera is not available. Aside from this brief comparison, I wish Mr. Levine et al would stop the senseless references to the "4th tenor". The only "package" deal that Alagna participates in is with the missus - soprano Angela Georghiu. I sincerely hope he would not ever consider forming another duo or trio and ever venturing into pop. It's better to be a leader than a follower, even if the latter approach makes more money.
With his latest two CDs, Alagna shines as a pioneer of wonderful, but forgotten material. I have little doubt that composers such as Zandonai and Franchetti just found legions of fans thanks to this recital. I hope to be treated to a full recording soon!
Verdi: Otello/Vinay, Nelli, Valdengo,Toscanini
Average customer rating: 3 out of 5 stars
  • The best!
 Verdi: Otello/Vinay, Nelli, Valdengo,Toscanini
Arthur Newman , Giuseppe Valdengo , Herva Nelli , Leslie Chabay , Nan Merriman , Nicola Moscona , Ramón Vinay , and Virginio Assandri
Manufacturer: Guild
ProductGroup: Music
Binding: Audio CD

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ASIN: B0001PIZHO
Release Date: 2005-01-17

Customer Reviews:

3 out of 5 stars The best!.......2006-08-11

There are lots of recordings of Otello out there, and most of them have something to commend them. This one is not the best all round. Valdengo is perfectly ok, but not the best on record. Neither is Herva Nelli in the top five category. Toscanini is, of course toscanini, but even he is not the reason to have this set. Bye the way: I am not recommending this as the one to get if you are in the one opera- one recording category. No, the reason to have this is that once you have come to love the role of Otello, there is simply no better rendition on disc! Vinay was the greatest (arguably) Otello of his time, and he is simply smashing as the wounded lion of venice. A trumpet of a voice but rich and baritonal: All one might want for the greatest role in one of the finest operas of all time. His "Niun mi tema" is fantastic.! All I can say is: If you love this opera as I do (this is one of the eleven recordings I have of it) you will surely appreciate the best recorded Otello of all time. Frankly, in my opinion, only Giacomini comes close. But that is only my opinion. Buy it!!
The Stanford Archive Series: Lawrence Tibbett
Average customer rating: 5 out of 5 stars
  • The Stanford Archive Series: Lawrence Tibbett
  • Lawrence Tibbett: An artist for all generations.
 The Stanford Archive Series: Lawrence Tibbett

Manufacturer: Delos Records
ProductGroup: Music
Binding: Audio CD

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  1. From Broadway to Hollywood
  2. Nimbus Prima Voce: Tibbett
  3. John Charles Thomas in Opera & Song
  4. Pinza
  5. Voice of Romance

ASIN: B00000072P
Release Date: 1997-05-20

Tracks:

  1. Carmen: Votre toast
  2. Pagliacci: Si puo? Si puo? Un nido de memori (Prologo)
  3. Pagliacc: Vesti la giubba
  4. Il Barbieri Di Siviglia: Largo al factotum
  5. On The Road To Mandalay
  6. De Glory Road
  7. Hallelujah Rhythm
  8. Shake Your Brown Feet, Honey
  9. Travelin' To De Grave
  10. The Packet Boat: The Roustabout
  11. Show Boat: Ol' Man River
  12. A Kingdom By The Sea
  13. Merry Mount: 'Tis An Earth Defiled
  14. Theodora: Defend Her! Heaven
  15. A Star Was His Candle
  16. The Crucifix
  17. Edward, Op. 1, No. 1
  18. The Star Spangled Banner
  19. De Glory Road: De Glory Road (Alternate Endings)

Tracks:

  1. Suomen laulu
  2. Rigoletto: Act 1: Pari siamo
  3. Rigoletto: Act 2: Povero Rigoletto!... La ra, la ra... Cortigiani, vil razza dannata... Miei signori...
  4. Otello: Act 1: Inaffia l'ugola (Brindisi)
  5. Otello: Act 2: Vanne; la tua meta gia vedo... Credo in un Dio crudel
  6. Otello: Act 3: Era la notte (Sogno de Cassio)
  7. Tannhauser: Act 1: Als du im kuhnem Sange
  8. Tannhauser: Act 3: WieTodesahnung Damm'rung... O du mein holder Abendstern
  9. La Traviata: Act 2: Mio figlio! Oh quanto soffri!... Di provenza il mar
  10. Il Trovatore: Il balen del suo sorriso
  11. TOSCA: Gia! Mi dicon venal
  12. Faust: Act 2: Buvons! Trinquons! Et qu'un joyeux refrain... Un rat plus poltron que brave... Le veau d'or
  13. Faust: Act 2: Merci de ta chanson! ... Dans les airs se brise!
  14. Songs From the Film 'Under Your Spell': Amigo - My Friend
  15. Songs From the Film 'Under Your Spell': My Little Mule Wagon
  16. Songs From the Film 'Under Your Spell': Under Your Spell

Amazon.com

He was handsome, hot, had a rich, distinctive voice and was a vulgar SOB, but you had to love baritone Lawrence Tibbett's audacity in falsifying a composer's intentions while he made the music as exciting and flashy as possible. This two-disc collection take from the Stanford University Archives covers his famous roles in Carmen and Barber of Seville, plus his forays into pop tunes and even his rendition of the "Star Spangled Banner." It's an interesting time capsule since Tibbett touch on so many media--even movies. But even though most of these recordings predate his vocal decline in the 1940s, it's mostly for fans only. --David Patrick Stearns

Customer Reviews:

5 out of 5 stars The Stanford Archive Series: Lawrence Tibbett.......2007-02-12

Buy it and learn what it was to sing when singing was a national pastime, not a yelling contest.

5 out of 5 stars Lawrence Tibbett: An artist for all generations........2005-10-20

Lawrence Tibbett left a priceless legacy, not only to all baritones who would come after him, but to all singers: It's alright to color outside the lines; it's OK to interpret a role from your own emotions; dare to be different! This is what keeps opera vibrant and viable! From the swaggering Toreador to the chilling Iago to the tender "Under Your Spell" to the glorious "Glory Road," Tibbett proves his point. David Stearns,in his mean-spirited blog says, "for Tibbett fans only." Right! You will be! Just listen to this album!
Mozart: Arias from "Così Fan Tutte" and "Don Giovanni"
Average customer rating: Not rated
    		Mozart: Arias from "Così Fan Tutte" and "Don Giovanni"

    Manufacturer: Ent. Media Partners
    ProductGroup: Music
    Binding: Audio CD

    All Works by Wolfgang Amadeus MozartAll Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music
    GeneralGeneral | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
    GeneralGeneral | Classical | Styles | Music
    GeneralGeneral | Arias | Opera & Vocal | Styles | Music
    GeneralGeneral | Opera & Vocal | Styles | Music
    Classical (c.1770-1830)Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music | Cantatas | Romances
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    CDs Under $7CDs Under $7 | Classical General | Classical | Today's Deals in Music | Formats | Music
    All Bargain TitlesAll Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music
    ASIN: B000002XAG
    Release Date: 1997-10-23
    Mi Meta
    Average customer rating: 2 out of 5 stars
    • Not His Best Album
    • Not His Best Album
    		 Mi Meta
    Domingo Quiñones
    Manufacturer: Rmm Records
    ProductGroup: Music
    Binding: Audio CD

    GeneralGeneral | International | Styles | Music
    GeneralGeneral | Latin Music | Styles | Music
    SalsaSalsa | Latin Music | Styles | Music
    MerengueMerengue | Latin Music | Styles | Music
    Salsa & MerengueSalsa & Merengue | Compilations | Latin Music | Styles | Music
    ASIN: B000001256
    Release Date: 1996-01-30

    Tracks:

    1. Si Tu Te Vas
    2. La Muerte Duele Igual Cuando Es Por Sida
    3. Lo Reconozco
    4. Superate
    5. El Poder De Tu Amor
    6. Chica Romantica
    7. Mi Meta
    8. Tu Como Estas
    9. Perdon
    10. Soy
    11. El Me Escucho

    Customer Reviews:

    2 out of 5 stars Not His Best Album.......2001-09-15

    I think that songs 1 and 3 the only ones that are good. The lack for more stars is partially for his material but mostly on this album he sounds like he is singing out of his nose. He made a major improvements in his voice on his later albums

    2 out of 5 stars Not His Best Album.......2001-09-15

    I think that songs 1 and 3 the only ones that are good. The lack for more stars is partially for his material but mostly on this album he sounds like he is singing out of his nose. He made a major improvements in his voice on his later albums
    Verdi: Simon Boccanegra/Otello
    Average customer rating: 3 out of 5 stars
    • Martinelli's voice
    		 Verdi: Simon Boccanegra/Otello

    Manufacturer: Pearl
    ProductGroup: Music
    Binding: Audio CD

    All Works by VerdiAll Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music
    GeneralGeneral | Classical | Styles | Music
    GeneralGeneral | Opera & Vocal | Styles | Music
    Romantic (c.1820-1910)Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music
    ItalianItalian | Languages | Opera & Vocal | Styles | Music
    ASIN: B000000WWZ
    Release Date: 1993-01-20

    Tracks:

    1. Simon Boccanegra: Act I: Dinne alcun la non vedesti? Figlia! tal nome palpito
    2. Simon Boccanegra: Act I: Plebe! Patrizii! Popolo Piango su voi, sul placido
    3. Otello: Act I: Inaffia L'ugola! (Brindisi)
    4. Otello: Act I: Gia nella notte densa
    5. Otello: Act II: Vanne! La tua meta Credo in un Dio crudel
    6. Otello: Act II: Nonn pensateci piu Tu? Indietro' Ora e per empre addio E qual certezza sognate
    7. Otello: Act II: Era la notte ... Oh! mostruosa colpa!
    8. Otello: Act II: Ah! mille vite ... Si, pel ciel
    9. Otello: Act III: Dio! mi potevi scagliar
    10. Otello: Act III: Vieni, L'aula e deserta Questo e una ragna
    11. Otello: Act IV: Canzone del slice
    12. Otello: Act IV: Ave Maria
    13. Otello: Act IV: Niun mi tema

    Customer Reviews:

    3 out of 5 stars Martinelli's voice.......2007-03-10

    I came across the RCA LP of these OTELLO excerpts recently; I hadn'theard them in many years. I was surprised at the thinness of his voice here and wonder if it was only the recording techniques of the period (1930s), which were unkind to many singers, omitting the depth that gives their voices beauty and drama. I've not heard this Pearl CD and wonder how he sounds on this. Tibbett too loses much depth on the RCA LP; his recordings from the 1940s sound so much better. Anyone else have a similar expereiece with these recordings?
    Mozart - Don Giovanni / Furlanetto · Tomlinson · Salminen · Heilmann · Pertusi · Cuberli · Meier · Rodgers · Barenboim
    Average customer rating: 5 out of 5 stars
    • Sleeper Don
    		 Mozart - Don Giovanni / Furlanetto · Tomlinson · Salminen · Heilmann · Pertusi · Cuberli · Meier · Rodgers · Barenboim
    Wolfgang Amadeus Mozart , Daniel Barenboim , Ferruccio Furlanetto , Waltraud Meier , Berliner Philharmoniker , RIAS-Kammerchor , Matti Salminen, Lella Cuberli, Uwe Heilmann John Tomlinson , and Joan Rodgers, Marcus Creed Michele Pertusi
    Manufacturer: Elektra / Wea
    ProductGroup: Music
    Binding: Audio CD

    All Works by Wolfgang Amadeus MozartAll Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music
    GeneralGeneral | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
    Barenboim, DanielBarenboim, Daniel | ( B ) | Featured Performers, A-Z | Classical | Styles | Music
    Berlin Philharmonic OrchestraBerlin Philharmonic Orchestra | ( B ) | Featured Performers, A-Z | Classical | Styles | Music
    GeneralGeneral | Classical | Styles | Music
    GeneralGeneral | Opera & Vocal | Styles | Music
    Classical (c.1770-1830)Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music | Cantatas | Romances
    GermanGerman | Languages | Opera & Vocal | Styles | Music
    OperettasOperettas | Opera & Vocal | Styles | Music
    ASIN: B000005E7I
    Release Date: 1992-01-28

    Tracks:

    1. Don Giovanni KV 527: Overture
    2. Don Giovanni KV 527: Act One: Scene 1: No. 1 - Introduzione: 'Notte e giorne faticar' (Leporello, Donna Anna, Don Giovanni, Il Commendatore)
    3. Don Giovanni KV 527: Act One: Scene 2: Recitativo: 'Leporello, ove sei?' (Don Giovanni, Leporello)
    4. Don Giovanni KV 527: Act One: Scene 3: Recitativo: 'Ah! del padre in periglio' (Donna Anna, Don Ottavio)
    5. Don Giovanni KV 527: Act One: Scene 3: N. 2 - Recitativo accompagnato e duetto - Recitativo accompagnato (Donna Anna, Don Ottavio)
    6. Don Giovanni KV 527: Act One: Scene 3: Duetto: 'Fuggi, crudele, fuggi!' (Donna Anna, Don Ottavio)
    7. Don Giovanni KV 527: Act One: Scene 4: Recitativo: 'Orsu, spicciati presto' (Don Giovanni, Leporello)
    8. Don Giovanni KV 527: Act One: Scene 5: N. 3 Aria: 'Ah! chi mi dice mai' (Donna Elvira, Don Giovanni, Leporello)
    9. Don Giovanni KV 527: Act One: Scene 5: Recitativo: 'Chi e la?' (Donna Elvira, Don Giovanni, Leporello)
    10. Don Giovanni KV 527: Act One: Scene 5: N. 4 Aria: 'Madamina, il catalogo e questo' (Leporello)
    11. Don Giovanni KV 527: Act One: Scene 6: Recitativo: 'In questa forma' (Donna Elvira)
    12. Don Giovanni KV 527: Act One: Scene 7: N. 5 Coro: 'Giovinette che fate all'amore' (Zerlina, Masetto)
    13. Don Giovanni KV 527: Act One: Scene 8: Recitativo: 'Manco male, e partita' (Don Giovanni, Leporello, Zerlina, Masetto)
    14. Don Giovanni KV 527: Act One: Scene 8: N. 6 Aria: 'Ho capito, signor, si!' (Masetto)
    15. Don Giovanni KV 527: Act One: Scene 9: Recitativo: 'Alfin siamo liberati' (Don Giovanni, Zerlina)
    16. Don Giovanni KV 527: Act One: Scene 9: N. 7 Duettino: 'La ci darem la manto' (Don Giovanni, Zerlina)
    17. Don Giovanni KV 527: Act One: Scene 10: Recitativo: 'Fermati, scellerato!' (Donna Elvira, Zerlina, Don Giovanni)
    18. Don Giovanni KV 527: Act One: Scene 10: N. 8 Aria: 'Ah, fuggi il traditor' (Donna Elvira)
    19. Don Giovanni KV 527: Act One: Scene 11: Recitativo: 'Mi par ch'oggi il demonio si diverta' (Don Giovanni, Don Ottavio, Donna Anna)
    20. Don Giovanni KV 527: Act One: Scene 12: N. 9 Quartetto 'Non ti fidar, o misera' (Donna Elvira, Don Ottavio, Donna Anna, Don Giovanni)
    21. Don Giovanni KV 527: Act One: Scene 12: Recitativo: 'Povera sventurata!'
    22. Don Giovanni KV 527: Act One: Scene 13: N. 10 Recitativo accompagnato ed aria - Recitativo accompagnato 'Don Ottavio...son morta!' (Donna Anna)
    23. Don Giovanni KV 527: Act One: Scene 13: Aria: 'Or sai chi l'onore' (Donna Anna)
    24. Don Giovanni KV 527: Act One: Scene 14: Recitativo: 'Come mai creder deggio' (Don Ottavio)
    25. Don Giovanni KV 527: Act One: Scene 14: N. 10a Aria: 'Dalla sua pace' (Don Ottavio)

    Tracks:

    1. Don Giovanni KV 527: Act One: Scene 15: Recitativo: 'Io deggio ad ogni patto' (Leporello, Don Giovanni)
    2. Don Giovanni KV 527: Act One: Scene 15: N. 11 Aria: 'Fin ch'han dal vino' (Don Giovanni)
    3. Don Giovanni KV 527: Act One: Scene 16: Recitativo: 'Masetto...' (Zerlina, Masetto)
    4. Don Giovanni KV 527: Act One: Scene 16: N. 12 Aria: 'Batti, batti, o bel Masetto' (Zerlina)
    5. Don Giovanni KV 527: Act One: Scene 16: Recitativo: 'Guarda un po' come sepe' (Masetto, Don Giovanni, Zerlina)
    6. Don Giovanni KV 527: Act One: Scene 17-21: N. 13 Finale: 'Presto, presto, pria ch'ei venga' (All)
    7. Don Giovanni KV 527: Act Two: Scene 1: N. 14 Duetto: 'Eh, via, buffone' (Don Giovanni, Leporello)
    8. Don Giovanni KV 527: Act Two: Scene 1: Recitativo: 'Leporello' (Don Giovanni, Leporello)
    9. Don Giovanni KV 527: Act Two: Scene 2: N. 15 Terzetto: 'Ah, taci, ingiusto core' (Donna Elvira, Leporello, Don Giovanni)
    10. Don Giovanni KV 527: Act Two: Scene 2: Recitativo: 'Amico, che ti par?' (Don Giovanni, Leporello)
    11. Don Giovanni KV 527: Act Two: Scene 3: Recitativo: 'Eccomi a voi' (Donna Elvira, Don Giovanni, Leporello)
    12. Don Giovanni KV 527: Act Two: Scene 3: N. 16 - Canzonetta: 'Deh, vieni alla finestra' (Don Giovanni)
    13. Don Giovanni KV 527: Act Two: Scene 4: 'V'e gente alla finestra' (Don Giovanni, Masetto)
    14. Don Giovanni KV 527: Act Two: Scene 4: N. 17 Aria: 'Meta di voi qua vadano' (Don Giovanni)
    15. Don Giovanni KV 527: Act Two: Scene 5: Recitativo: 'Zitto...' (Don Giovanni, Masetto)
    16. Don Giovanni KV 527: Act Two: Scene 6: Recitativo: 'Ahi ! Ahi !' (Masetto, Zerlina)
    17. Don Giovanni KV 527: Act Two: Scene 6: N. 18 Aria: 'Vedrai, carino' (Zerlina)
    18. Don Giovanni KV 527: Act Two: Scene 7-8: Recitativo: 'Di molte faci il lune' (Leporello, Donna Elvira)
    19. Don Giovanni KV 527: Act Two: Scene 7-8: N. 19 Sestetto: 'Sola sola, in buio loco' (Zerlina, Donna Elvira, Don Ottavio, Masetto)
    20. Don Giovanni KV 527: Act Two: Scene 9: Recitativo: 'Dunque, quello sei tu' (Zerlina, Donna Elvira, Don Ottavio, Masetto)
    21. Don Giovanni KV 527: Act Two: Scene 9: N. 20 Aria: 'Ah, pieta, signori miei!' (Leporello)
    22. Don Giovanni KV 527: Act Two: Scene 10: Recitativo: 'Ferma, perfido!' (Donna Elvira, Masetto, Zerlina, Don Ottavio)
    23. Don Giovanni KV 527: Act Two: Scene 10: N. 21 Aria: 'Il mio tesoro intanto' (Ottavio, Zerlina, Donna Elvira, Masetto)

    Tracks:

    1. Don Giovanni KV 527: Act Two: Scene 10: N. 21b Recitativo accompagnato ed aria: Recitativo: 'In quali eccessi, o Numi' (Donna Elvira)
    2. Don Giovanni KV 527: Act Two: Scene 10: N. 21b Recitativo accompagnato ed aria: Aria: 'Mi tradi, quell'alma ingrata' (Donna Elvira)
    3. Don Giovanni KV 527: Act Two: Scene 11: N. 21b Recitativo accompagnato ed aria: Recitativo: 'Ah! Ah! questa e buona!' (Don Giovanni, Leporello, Il Commendatore)
    4. Don Giovanni KV 527: Act Two: Scene 11: N. 22 Duetto: 'O statua gentilissima' (Leporello, Don Giovanni, Il Commendatore)
    5. Don Giovanni KV 527: Act Two: Scene 12: Recitativo: 'Calmatevi, idol mio' (Don Ottavio, Donna Anna)
    6. Don Giovanni KV 527: Act Two: Scene 12: N. 23 Recitativo Accompagnato e rondo: Recitativo: 'Crudele!' (Donna Anna)
    7. Don Giovanni KV 527: Act Two: Scene 12: N. 23 Recitativo Accompagnato e rondo: Rondo: 'Non mi dir, bell'idol mio' (Donna Anna)
    8. Don Giovanni KV 527: Act Two: Scene 12: N. 23 Recitativo Accompagnato e rondo: Recitativo: 'Ah, si segua il suo passo' (Don Ottavio)
    9. Don Giovanni KV 527: Act Two: Scene 13-16: N. 24 Finale: 'Gia la mensa e preparato' (All)

    Customer Reviews:

    5 out of 5 stars Sleeper Don.......2005-09-10

    For some reason, Daniel Barenboim's recordings of the Mozart-Da Ponte masterpieces have been overlooked. All three have splendid casts - and among them, this may be the least spectacular, but it is nonetheless a wonderful performance.

    Joan Rodgers has a gorgeous voice, and sings Zerlina with radiant and womanly warmth - no voce infantile here, thank the gods. It's a pity she hasn't recorded more. She is, fortunately, in Barenboim's two other Mozart-Da Ponte operas, singing her heart out as Susanna and Despina.

    Furlanetto has an interesting take on the role of the Don. He usually sings Leprello, but here he sings the part of Don Giovanni with a rather unique interpretation. He plays the Don as somewhat of a fool, with more of a comic slant than I have ever heard. But humor was part of Mozart's original intention, and the Don does have his roots in street theater, so in this case a buffo Don works.

    Tomlinson as Leporello is more of the Don's straight man, and there seems to be a bit of role reversal going on here between the clownish Don and his more dignified servant. Tomlinson's voice can be, I think, rather boring - a kind of voice-in-a-box, like Samuel Ramey. Good, strong, accurate, but not much drama or artfulness.

    Ewe Heilmann's ravishingly beautiful Mozartian tenor voice adds a welcome dimension of eros to the role of the too-often bland and wimpy Don Ottavio. Waltraud Meier's Donna Elvira, though occassionally a bit on the shrill side, and Leila Cuberli's Donna Anna are both rich, full-bodied, exciting and very womanly. Barenboim seems to have a talent for drawing out highly passionate responses from women. It must be his Scorpio........

    There are many great recordings of this magnificent opera. Especially if you go off the beaten path and get away from the Giulini crowd, you'll discover a large number of rare but excellent performances, many of them live. Among these musical feasts are the three Furtwanglers, Busch, Haitink on EMI, Bohm's phenomenal 1955 German-language version on RCA Red Seal (I usually avoid translated performances but this is such an exceptional performance the German can be overlooked), Guild's offering conducted by Breisach with Zinka Milanov's superlative Donna Anna (you won't believe that she can sing like this!), Szell's 1944 performance on Archipel, and on the Naxos Historical series, Bruno Walter with Alexander Kipnis' very Russian and very funny Leporello. The last three all feature Ezio Pinza as the Don.

    Add Barenboim's performance to this more exotic list of Don Giovannis and you'll have quite a variety of interpretations from highly gifted artists. Some of Barenboim's opera recordings are outstanding for their dramatic content, the tightness of the performance, and his excellent taste in singers.

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    1. Mis Mejores Anos
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    3. Nuestra Historia
    4. Nueva Cancion Chilena: Antologia Definitiva, Vol. 3 [Import]
    5. Oro [Import]
    6. Para Los Bohemios
    7. Pasaporte Musical
    8. Perdidos [CD-single]
    9. Primeros Anos [Import]
    10. Reconciliacion

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